(photo of Robert Fairchild and Wendy Whelan in Opus 19 / The Dreamer by Henry Leutwyler taken from High 5.)

I spent all of Saturday at New York City Ballet, watching both matinee and evening performances like the obsessive I am Highlight of the daytime performance was Jerome Robbins’s 1979 ballet, Opus 19 / The Dreamer in which Robert Fairchild and Janie Taylor made their NYC debuts in the lead roles. This is only my second time seeing this ballet — the first was a season or two ago when the main parts were danced by Gonzalo Garcia and Wendy Whelan. (Robbins created the ballet on Baryshnikov and Patricia McBride). My research has revealed that critics don’t consider this to be a major Robbins ballet; Arlene Croce seems not to have written a word about it. Audiences seem to adore it though, me included.

Funny but the first time I saw it, I thought the main male character was a “dreamer” in the sense of being an idealist. Wendy seemed to represent Gonzalo’s ideal. And there often seems to be a kind of charmingly airy, carefree, “head in the clouds” quality to Gonzalo’s dance persona.

Robert was more solid and sharp and weighty than Gonzalo. In his beginning solo, he’d slice through the air with his arms and legs, stretch an arm out, hand bent up, as if to be pushing out against something, or stopping something from getting too close to him. What that something is isn’t entirely clear. It seemed more like he was a literal dreamer, someone lost in a dream that was neither entirely pleasant nor unpleasant, something he kind of wanted to escape from but was drawn to as well. And Janie — I love her! — was all tantalizing, bewitching, taunting little mischief-maker haunting his subconscious, not leaving his psyche a moment’s peace. Whenever she was onstage, she completely captivated — both him and us. Even when she’d collapse in his arms, he’d struggle to straighten her up again. He’d lovingly wrap his arms around her; she’d be out of them in a split second. It was very different from the way Wendy danced, if I remember correctly. I wonder how Patricia McBride did it.

I read a review of a dancer who performed the male lead in the 80s. The writer — Jack Anderson — said the dancer — Jeffrey Edwards — looked like a thinker, very introspective. I always love watching Robert — I think he is one of the most fascinating movers around. I’m not sure if what I saw here was introspection or more like inner turmoil. He was definitely lost in himself — he doesn’t even seem to notice all the lavender-clothed dancers flitting about him, didn’t seem to notice anyone until Janie came darting by and commanded his attention. I guess it seemed more like he was lost in his own angst, haunted by his dreams, than lost in his thoughts or his art. But it would be hard, I’d think, to embody introspection.

They don’t seem to be performing this ballet a lot, but I’d love to see Tyler Angle dance the part as well.

Also during the day was Chaconne, which I’m growing to love more and more — particularly the first pas de deux where the man lifts the ballerina and she has her arms out to the sides and does these large, sweeping steps forward, every few beats lightly tickling the floor with one toe shoe, and it looks like she is flying — and Vienna Waltzes, which, probably ridiculously for me since I’m a ballroom dancer, honestly just kind of bores me. The choreography’s not very intricate or compelling (odd for Balanchine) — it’s mostly straight-forward waltzing, which I can only watch for so long. There’s a middle section composed of high-energy allegro ballet which was danced very theatrically by Yvonne Borree and Benjamin Millepied. That section seriously kept me from falling asleep.

Highlights from the evening program were Peter Martins’s Hallelujah Junction, Joaquin De Luz in Donizetti Variations, and Sebastien Marcovici’s debut as Prince Siegfried in Balanchine’s Swan Lake. I hadn’t seen this cast of Hallelujah before — it was Sterling Hyltin, Gonzalo Garcia, and Daniel Ulbricht. This cast wasn’t so dramatic, so romantic, so intent on telling a little story, as other I saw (Marcovici, Taylor, Veyette), but seemed more focused on simply making the music visual — and they did so to fascinating effect. I greatly enjoyed just sitting back and watching all that brilliantly fast-paced, razor-sharp movement — Gonzalo with his sexy impish bouyancy (he’s not really a small man but somehow he seems like he’s always airborne; I think he’d make a great Sleeping Beauty Bluebird), Sterling with her Russian ballerina-high extensions that she does with incredible speed, and Daniel for his intense precision. This is the best I think I’ve ever liked Daniel Ulbrich before. He didn’t just jump inhumanly high; he really nailed very difficult-looking, intricate footwork and he did so with such sharpness and tautness. If he’d only be given more than just jumping guys parts, he can show that he can actually dance extremely well.

Sebastien danced Siegfried with great passion, expectedly. Balanchine really eviscerated the man’s part in his version of the ballet but Sebastien went as far as he possibly could with it. At one point, one of the corps swans in the back row fell and of course the audience had to go “ooooooohhhhhhh,” but he didn’t let it faze him as his Siegfried searched desperately among the swans for his beloved Odette. He had a minor flub on one of the many traveling turn jump thingys but no big deal. It was heartbreaking when Wendy bourreed back away from him and he reached out to her like she was taking his life with him as she went. Also, I love the black and white plastic swans swimming in the little stream at the beginning and end, but the people working them should just make sure the white swan appears at the right time! One time Wendy wasn’t fully into the wings yet when her swan form began sailing across the stage and Charles Askegard’s Prince Sig didn’t know where to run — the swan or Wendy. This time it was a little late and Sebastien kind of had to go searching upstream for her

Balanchine’s Donizetti Variations was danced brilliantly by Joaquin De Luz and Megan Fairchild. But what I really love about Joaquin isn’t his bravura dancing but his dramatic abilities — how he interacts with the other dancers. Even when dancing a storyless ballet, he’ll look at the others as they do their thing, shoot them a cocky grin — or a genuine smile — and do his thing, his steps a clever or comical response to theirs.

Also on this program was the newish ballet by Melissa Barak, A Simple Symphony – -my second viewing of that. She does borrow from Balanchine, but her choreography also has its own wit, which you notice on multiple viewings. Like Balanchine, the drama is in the actual choreography — every little flex or softening of the wrist meaning something. At one point, the ensemble of ballerinas all turn their hands and flex their wrists, and it looks like they’re cutely shrugging their shoulders. It’s such a pretty ballet with such mellifluous music though, sometimes you don’t want to focus on the choreography; you just want to sit back and enjoy the loveliness of it all.

(image taken from here)

Last night I went to see the Eifman Ballet of St. Petersburg in their New York debut of Boris Eifman’s Onegin, based on the 1837 novel in verse by Alexander Pushkin. I’ve seen this company once before and I’ve always been thoroughly entertained. They’re very Russian, very dramatic, very theatrical, very emotional, very angst-filled, doing everything as full-out both movement-wise and acting-wise as you possibly could. There’s never ever a dull moment.

Mr. Eifman’s work is very controversial here amongst the critics — I remember Joan Acocella (of the New Yorker) calling him a “public menace” at one of her book signings! I think he’s very Russian though (as well as very daring), and many in the audience are Russians, of all ages. I felt just as much as if I were in a nightclub in Brighton Beach as at a ballet performance. I also think he would be well-liked among the So You Think You Can Dance crowd. He often combines classical ballet and classical music (here Tchaikovsky) with more contemporary dance (like hip hop or jazz / theater dance) and music (here by contemporary Russian rock musician Alexander Sitkovetsky).

He sets his Onegin not in Imperial Russia but in 1991 in the wake of the fall of the Soviet Union and local uprisings against Gorbachev and his liberalism. We see, above the dancers, projected onto a circular backdrop, video clips of people marching, demonstrations, police trying to keep order, and then the images switch to an ensemble of classical ballerinas performing what appears to be Swan Lake. The dance / play begins with the main male characters — Onegin and his friend Lensky (who in Pushkin was a poet, here is a guitarist and musician) in a bar. Lensky seems to be trying to comfort Onegin with his guitar-playing but it doesn’t seem to help much.

Next we’re in the countryside where Lensky has taken Onegin, presumably so Onegin can have a break from the city. (In Puskhin, Onegin is a jaded aristocrat who retires to the country). The setting, by Zinovy Margolin, and lighting, by Gleb Filschtinsky and Eifman, are really cool by the way. Whenever the characters are in the city, the back wall on which are painted a series of black lines is lit in red and those lines become kind of abstract but imprisoning; when they are in the country, the wall is lit in blue and the lines turn into a bridge crossing a river, and the circular backdrop (which the movie images were projected onto) becomes a moon.

Anyway, Lensky goes to the country to see his girlfriend, the playful, flirtatious Olga, and there the bookish Tatyana immediately falls for Onegin, who doesn’t return her affections. Tatyana (danced brilliantly by Maria Abashova) has some really compelling dance sequences, by turns lyrical (showing she’s in love) and more angst-filled with awkward, angular lines and contorted mid-body movements. During part of this sequence, Tatyana’s love letter to Onegin is read (in Russian) by a voice-over. As Olga and Lensky dance a romantic duet, Tatyana walks up and across the bridge holding the letter. It’s really striking, the contrast between the sexually suggestive dancing of the pair and the lone Tatyana with her letter.

Soon, Tatyana has a dream in which she is being seduced by Onegin (pictured at the top of the post). The stage is lit in red and hard rock music is played. It’s very sexual and turns very violent, as soon Onegin turns into several men all clawing at her — a foreboding of the violence and tragedy to come.

I didn’t completely follow the story in the next section — and this is where I think it’s hard to bring Pushkin into the present — but Onegin gets angry at Lensky for some reason — (in Pushkin it’s because Lensky organizes a socialite party which angers Onegin because it represents everything he desires to escape from) — but it wasn’t as clear to me here. Maybe here Onegin’s just a tormented soul in general, maybe his anguish has to do in some way with what’s going on politically and culturally in Russia. Anyway, Onegin gets angry and starts to flirt obnoxiously with Olga (in a very intense duet filled with daring lifts and sexual overtones), leading the same place it does in Pushkin – -to Lensky’s anger resulting in a fight in which Onegin stabs Lensky to death (in the Pushkin, Lensky challenges Onegin to a duel, which Onegin wins).

Then, there’s a really beautiful scene — one of my favorite — where Lensky returns to life, ghost-like, and he and Onegin do a pas de deux. It begins with Lensky hovering over a small table, Onegin underneath. The men see each other through the glass and Onegin pulls himself up as Lensky slowly lowers himself down. They then do a lift sequence, but a very masculine one — with lots of kicks and anguish-filled jumps. One critic interpreted this as a gay scene, but I thought it was more about Onegin expressing his sorrow at what he’d done to his friend, praying for forgiveness.

Eventually Tatyana meets and marries a blind colonel and moves to the city, becoming a member of urban high society the way Pushkin’s Tatyana did. Years later Onegin (who now has greyed hair) spots her at one of the clubs he frequents and becomes enamored of her. There’s an intense pas de deux between them and she tells him she is taken, she’s no longer his to have. It ends with Onegin sitting at a desk crazily writing love letters to her the way she once did him, trying desperately to get the wording right, shredding paper after paper and starting anew. But the letters go nowhere, his time and energy is wasted. Instead, a wind comes along and blows the papers about and he becomes flooded by them.

The main dancers — Abashkova as Tatyana, Oleg Gabushev as Onegin, Dmitry Fisher (who bears a striking resemblance to Slavik Kryklyvyy!) as Lensky, Natalia Povoroznyuk as Olga, and Sergei Volobuev as the Colonel — and are all excellent, both with the intensity of the acting, and the incredible flexibility and gorgeous lines for the women and the athleticism for the men. The two women especially really moved like their characters — Abashkova at times making her movement awkward, at times beautifully lyrical, as if in love, and Povoroznyuk, more playful and sexual as Olga, would often fall into these amazing splits, legs wrapped snakily around her male partner.

One thing: I wish the women would have been on pointe. They all danced in flat ballet slippers. I think pointe work brings out not only the poetry and beauty of ballet but its intensity as well. Eifman could have used it to powerful, dramatic effect here.

The company performs at City Center through Sunday. I think they’re definitely worth seeing if you have the chance, though it might be a bit of a jarring experience for people devoted solely to classical ballet

So, predictably, last night Mirko Gozzoli and Alessia Betti from Italy took the final Blackpool championship, the Standard (above photo from BlackpoolDanceFestival.net). Our Arunas Bizokas and Katusha Demidova came in second, Britain’s Jonathan Wilkins and Hazel Newberry took third, the US’s Victor Fung and Anna Mikhed fourth (good placement for them; they’re moving up every year!), fifth were Italy’s Roberto Villa and Morena Colagreco, sixth Domenico Soale and Gioia Cerasole also from Italy, and seventh Britain’s Warren and Kristi Boyce.

Eleanor says:

“Yesterday was fantastic — went to the Chrisanne party which was packed as usual — then the main highlight was the comp. Last year I was so tired I don’t remember much but this time I really enjoyed it. Top three was pretty predictable but I think I prefer Domenico to Roberto and would loved to have seen Paolo (Bosco) and Silvia (Pitton, from Italy) in the final — instead they made only the Semi in a few dances. Also managed to come away with a massive poster of Katusha! Can’t believe I’m on my way home now. ”

I don’t follow Standard as closely as Latin and only really know the top four couples, all of which I like very much. Still disappointed Arunas and Katusha didn’t at least get a win in one dance. Those Chrisanne parties are always packed — and sometimes dangerous

See more results here.

(photo of Gillian Murphy and Roman Zhurbin in Le Corsaire, by Gene Schiavone, taken from ABT website)

Ethan Stiefel was supposed to dance Ali last night at ABT, but he was out with injury. I was disappointed of course, but it wasn’t like it was such a horrible thing having to see Angel Corella in that role again! He jeted out from behind the curtain during curtain calls last night (as did Gillian!– so I was happy)

Anyway, the male cast was mainly the same as opening night: David Hallberg as Conrad, Carlos Lopez as Birbanto, Daniil Simkin as Lankendem. The main differences were the two female leads: the spectacular Gillian Murphy as Medora, and the small, lovely Maria Riccetto as Gulnare — and, as it turned out Roman Zhurbin as Seyd, the goofy pot-bellied pasha. See my earlier post if you don’t know the characters and story.

Gillian and Roman made my night. Gillian has definitely got to be athletically the strongest ballerina in the company, maybe in the world. During her fouette sequence she did so many multiple pirouettes between each fouette I couldn’t even count; she was a blur. I don’t even see how that’s physically possible. She is truly a marvel, to make a massive understatement. And she goes so fast during the chaines and those traveling pirouettes around the stage’s perimeter. But not only that, she has such soft, beautiful liquid lines. And she and David I think are so used to each other now, they dance so well together in the romantic scenes. The bedroom scene was really really beautiful. She threw herself into those lifts like Nina did with Marcelo, except David isn’t Marcelo and so he didn’t do such flamboyant dives that it looked like he’d practically shoot her to the sky But it was a really beautiful scene and she really floated in his arms.

And David is so good at those romantic scenes because of the kind of romantic dancer he is. I think he’s aware that those looks can at points be limiting and so he tries overly hard to be a hardass in those pirate-y bravado scenes. He was really kicking at and pushing around some of his fellow pirates! But I think maybe he doesn’t really need to do that. He doesn’t need to be a kick-ass aggressive warrior Conrad; he can always go for the more brooding Romantic pirate and let his hard-ass buddies help him along with getting the girl and fending off Lankendem and his crew, etc. And then the scene where he realizes Birbanto has betrayed him and he has to kill him to protect himself and Medora is all the more compelling since it may not be his nature to do that.

Anyway, Roman stole the show as well. Good lord! They usually have retired dancers who still teach and coach at the company do these character parts — the role of Seyd has been played by Victor Barbee at the last two performances I saw. But sometimes they give Roman these parts because he’s such a good actor. He was so giggle-out-loud hilarious as he rolled around the stage patting his big old pot belly and goofily lusting after all those slave girls. He was too much! It reminded me of this short film I saw a few years ago about a couple of movie extras. One of them just could not fulfill the requirements of “extra” work, and at one point there’s this scene where the two principal actors are having an important dinner conversation and you see the guy in the background open-jawed, smacking his hands on the table, laughing hysterically about something and it’s so funny because your attention is completely drawn to him and away from the main characters’ all-important conversation. (The film was mainly a comedy but had a little of the tragic about it, focusing as it did on the minor people who work hard and never get any recognition but who are essential in making a big film happen — kind of like Jerome Bel’s film about Swan Lake from the perspective of a corps dancer). Anyway, Roman was very lively, to put it mildly. Absolutely hilarious.

(headshot from ABT site)

Also, happily, the Lincoln Center fountain is operational again!

Unfortunately, it was such crap weather last night, no one was able to enjoy it.

So then I came home and, since I remembered to record SYTYCD for once, was able to watch the last day of auditions, which I was thoroughly disappointed with. I wish I would have seen Alex Wong’s audition Wednesday night because I feel like they only have the bad people on at this phase– like that blonde contemporary dancer whose father has multiple sclerosis (sorry, I can’t remember names this early on!) She was pretty — and all three judges kept remarking on that ad nauseam. She did a pretty pirouette at one point, but she seemed totally off-balance, like she was on the verge of falling every time she lifted one leg off the ground. The judges didn’t seem to notice that at all and advanced her straight to Vegas seemingly on the basis of her looks (since they kept going on about how gorgeous she was).

I did really like the pop & locker guy though – the one with the charming smile. He was amazing — not only what he was doing with his facial muscles, which Nigel recognized as well, but those ticks (I guess that’s what they’re called). His didn’t seem to be as robotic as they normally look (which are cool anyway), but his seemed more fluid, and it looked like he was moving in slow motion. Amazing. I’m glad he passed choreography and advanced. And I also thought the female tap dancer from last season was very impressive and am glad to see she made it.

What were they going on with that Asian Latin couple about? Nigel telling her to make sure and be sexy and then all of them remarking how much she stole the show with her sex appeal. I honestly thought he was technically better than she. Do the judges care about the art of dance or about sex appeal? And, when the female of the couple said when you think ballroom you usually think Russian or South American dancers, not Asian: anyone who’s ever been to a ballroom competition knows that’s untrue. Russian yes — ballroom is dominated these days by Eastern Europeans, Western Europeans (mainly the Italians, Germans, and English), and by Asians — Asians are a huge presence in ballroom competitions these days. Japan often has a team at Blackpool for the world competition and the Chinese always have Latin formation teams there (which are a blast, by the way – the Chinese Latin formation teams!) And the world pro demos take place in Japan. And Asians often take the top individual awards. So Asians are everywhere in serious ballroom competitions right now; South Americans nowhere. South Americans dominate ballet these days, but they don’t dance serious ballroom; Latin dance is social dance for them, not competitive.

Anyway, sorry for the rant — it just upsets me when something really wrong and misleading to the public is said on these television shows!

Maybe we just didn’t see enough of the other dancers, but none of the others seemed very good at all. Except for the ballerina who didn’t advance because she couldn’t pass choreography. That really made me upset because her solo was beautiful and technically very solid. I can’t imagine David Hallberg — or many of the current ballet greats — excelling at hip hop either. So then I got upset all over again just like I did last year during the auditions wondering what this show is about and why everyone can’t be valued for what they’ve worked on their entire lives to be brilliant at.

Anyway, I’m glad the auditions are over and we can advance on to the real show so I don’t have to get so pissed off anymore

You guys! I missed So You Think You Can Dance again last night! I thought it was on on Thursdays (wasn’t it on Thursday last week?) and was all set to tape tonight when commenter Jonathan sent me an email asking me what I thought of the second week of auditions. Argh. Trying to find somewhere online to watch re-runs…

Can’t they wait till ballet season is over?! Seriously, it wasn’t on this early last year right? I don’t remember it conflicting with Blackpool, ABT, and NYCB like this.

Anyway, in lieu of a post on this week’s show, I thought I’d just link to this Rickey post (which is where I got the pic above from), which commenter Jonathan sent me. Thank you, Jonathan!

Apparently, Danny Tidwell will be in the Broadway cast of Memphis, which is scheduled to open in the Fall, and will be in Fire Island over the summer for the Fire Island Dance Festival.

It’s always interesting to keep up with the SYTYCD dancers and see what becomes of their careers, if and how the show has helped them. So far we have Danny and Neil Haskell on Broadway, Sabra in a very cool NY-based contemporary ballet company, Chelsie Hightower and Dmitry Chaplin on Dancing With the Stars… I wish Danny would come back to ABT but I know that’s not going to happen. But it’s okay — there are plenty of fabulous dancers there to keep me in a pretty constant state of awe

For others who missed last night’s show, I find Ballroom Dance Channel does a good job of straight-forward reviews.

(photo by John Ross, from Ballet.co)

Things got a bit crazy on the Met stage last night! With Craig Salstein madly shooting off his guns as the up-to-no-good pirate Birbanto, Marcelo Gomes as the wily, endearingly ferocious head pirate Conrad, and Jose Manuel Carreno as the fiercely unslave-like Ali the slave, I thought someone might get hurt.

This (pretty much uncontestedly silly) ballet tells the story of a group of pirates that happen upon a Turkish bazaar at which women are being auctioned off as slaves. Conrad the loveably aggressive head pirate falls for Medora, one of the women the big Pasha has just bought. Then power struggles ensue: he and his men steal her, Lankendem the bazaar owner steals her back, and so on. Of course Medora and Conrad eventually end up together. Their ship crashes as they flee the Pasha, but they end up safe on a glacier, forever together.

(photo of Herman Cornejo and Xiomara Reyes by Mira, from Danza Ballet) (Neither dancer was in the cast I saw; I just liked this picture)

Craig Salstein is always very dramatic, always great with character and he often dances the lovable nerd, but his Birbanto here was all testosterone, more traitor than friend to Conrad. His dancing was excellent — all those crazy kicking jumps high and precise. Seriously, when he decided to turn against Marcelo’s brawny Conrad, it was like Pirates of the Caribbean (not the movie but the Disney ride — which is actually kind of scary; you never know what deep-voiced, gun-fire-laden brawl is coming up around the next corner).

After a wicked solo, Marcelo took what seemed like a minutes-long series of bows in character, throwing his arms about in the air, pumping his fists. Maybe they were in character … maybe they were in dancer persona meant to say, “I nailed it, look at me!” In any event, the crowd went nuts. You’ve got to have guts to do that!

Nina Ananiashvili danced Medora. She is a very lively, very dramatic dancer and she was my favorite Medora so far. She wasn’t quite as athletically strong as Paloma but she did a wicked series of fouettes in the second Act and her projection of character more than made up. She really vamped up the sweetness and innocense, as did Sarah Lane as the slave girl Gulnare (I felt sorry for Sarah as she was getting shown and sold by Lankendem; Yuriko Kajiya’s Gulnare was more playful and carefree about her situation).

My favorite part: Nina flung herself with wild abandon into Marcelo’s arms during the bedroom scene! And of course he did crazy dives with her, tossing her small body around like a doll. So I finally got my flings with wild passionate abandon that I’ve missed in all the Tchaikovsky PDDs of late! Thank you Nina

Jose was Jose. His Ali is far more masculine, more just-one-of-the-guys than Angel Corella’s, whose is more of a protective guardian angel. When Jose’s Ali went to wake up Conrad after he’d been tricked into a deep sleep by Birbanto’s poisoned rose, I thought he was going to toss him across the room. When Angel’s Ali did the same, he lightly but urgently plucked at David Hallberg’s chest. Jose doesn’t do Angel’s “genie spins” — the up and down movement with the standing leg during the multiple pirouettes that drives the audience stark raving mad. His turns looks more brawny and muscly and powerful. Angel is definitely more flamboyant. It kind of does look like he’s tweaking his nipples

(photo of J.M. Carreno from PBS)

(photo by Gene Schiavone, from Danza Ballet)

Gennadi Saveliev was Lankendem. He delivered well on all those barrel turns with the legs slicing through the air, same as Daniil Simkin. He’s a much taller man than Daniil and his long limbs made some of those turning jumps look really spectacular. I don’t think he has the tautness and control of Daniil, but he was still stunning.

The three Odalisques were well danced by Simone Messmer, Renata Pavam and Kristi Boone. Kristi, again, really stood out to me with her strong legs and sharply pointed feet and miraculously held-out arabesques. I can’t wait to see her Siren in Prodigal Son next week!

At the end, bows went on forever and a day and Nina and Marcelo were bombarded with bouquets from the left side of the theater. During curtain calls, Nina girlishly pulled him along to the opposite side of the stage so they could receive more flowers Sweet night. I think her many fans are slowly trying to prepare themselves for her upcoming retirement.

Joanna Leunis and Michael Malitowski won the Latin Pro Championship tonight at Blackpool (for the second year in a row now). Riccardo Cocchi and Yulia Zagoruychenko came in second, Franco Formica and Oxana Lebedew in third, Sergey Surkov and Melia fourth, Maurizio Vescovo and Melinda Torokgyorgy fifth, Markus Homm and Ksenia Kasper sixth.

Am fairly pleased with the results I guess… though unsurprising of course. At least Michael and Joanna didn’t win across the board; Riccardo and Yulia placed first in Jive. I like Joanna and Michael and think they’re an excellent pair; I just don’t want the judges to make all others wait until they retire to advance.

photo of Leunis and Malitowski taken from here.

Expecting a bit of commentary from Eleanor and Becca soon!

Update: Eleanor says:

“Last night was the best comp I have ever been to! Although the result is never gonna be what I want it to, there is something that made me very happy! Riccardo and Yulia placed 1st in the Jive! If I were to have my way then Maurizio wouldn’t be there but what can you do? The only other bad thing about the whole thing was that Riccardo and Yulia were in the same heat as Sergey and Melia so I usually had to choose between the two! Otherwise it was absolutely the best comp I have ever seen. Now I have to drag myself out of bed and hope I still have a voice. Xx Eleanor.”

[I personally like Maurizio though he can be a real ham Not my favorite, but I am always very entertained by him. I haven't seen him and Melinda dance in a while. And I don't think I've ever seen Markus Homm and Ksenia Kasper?... Also, I wonder what happened to Peter and Kristina Stokkebroe? I guess that's how Homm and Kasper got a place on the winners podium. Will be very interesting to see what happens next year when Slavik and Anna join the fracas!]

Blackpool update: Anna Melnikova and Stefano DiFillipo from Italy (above photo by Andrew Miller from Dance Beat World) won the highly coveted Amateur Latin, placing first in all five dances, then announced their breakup. “I hate it when couples split just when they’ve won something major,” says Eleanor. “It’s like Max and Yulia all over again!”

I can’t find anything on Dance Beat confirming this but another friend told me it’s now been announced that Slavik and Anna will compete together — which would be a good reason for her breaking up with Stefano (and would make me very happy … for Slavik I mean).

Dance Beat reports that Valentin Chmerkovskiy and Daria Chesnokova (US champs in Amateur Latin), disappointingly, didn’t even place in the semi-finals.

(photo from Dance Beat)

Also, Hanna Karttunen (now broken up with Slavik) has announced that she will return to competing with her former partner, Victor DaSilva (who was on that TV show Superstars of Dance) in the exhibition category. Yes! I was so hoping that would happen!

Latin pro comp is tonight!

(photo of Daniil Simkin by John Ross, from ballet.co)

In the ballet world (or my ballet world, rather), the incredible Daniil Simkin debuted last night in ABT’s Le Corsaire (his Met stage debut anyway), dancing the role of Lankendem, the harem owner. (Herman Cornejo was supposed to dance and Daniil’s debut was supposed to be tomorrow night, but Herman is out with an injury, which I’m told isn’t expected to last long, thankfully). I think Daniil did more continuous barrel turns than I’ve ever seen before, traveling around the stage about one and a half times, doing his signature thing by making the very last one high off the ground, super fast, and straight-legged. (I don’t know the ballet term). He also goes up really high on releve (balls of the feet) when lifting his ballerina, which gives her a great deal of height. He danced beautifully with Yuriko Kajiya last night. She looked really weightless in his arms. During curtain calls, he got almost as much applause as Angel Corella’s Ali the slave!

I’ll write more after seeing the next two Corsaire casts, but last night’s opening-night cast for that ballet was excellent: tall, blonde god David Hallberg was perfect as the hero Conrad, by turns romantically tormented over thwarted attempts to get — and keep –  his love, then fearsome and commanding as head pirate (more fearsome and commanding than I think I’ve ever seen David!) Carlos Lopez as Birbanto, Conrad’s friend-turned traitor, and Paloma Herrera as Conrad’s love interest, Medora, were both excellent. I’ve sometimes seen Lopez have some trouble landing jumps solidly, but he seems to have overcome that. He was perfect last night.

So, the Gay and Lesbian Alliance Against Defamantion called Nigel Lythgoe on his anti-gay comments on SYTYCD last week and Lythgoe apologized. I missed last week’s show, but according to the Times he told a male ballroom duo that he didn’t think the show’s audiences would be receptive to them and that, though they’d had men dancing with other men on the show before, they’d never danced “in each other’s arms.” (The pair danced Samba). Lythgoe said on the show that he’d like to see them both “dancing with a girl.”

Lythgoe rightly apologized for his comments and word choice but my question is, is such a couple really not right for the show’s audience (which is mainstream America)? Would people these days really get so upset over watching two men ballroom dance together? I’ve lived in New York for so long now (and been part of the dance world) that I feel I’ve kind of lost touch with middle America. I mean, would the average American seriously be offended?

(Above images, Concerto DSCH by Paul Kolnik, courtesy of NYCB; top dancers: Janie Taylor and Tyler Angle, botton: Wendy Whelan and Benjamin Millepied)

I can see how ballet is so addictive, especially to those with dance training who’ve either danced the roles they see onstage or pick up choreography on sight. It’s so interesting to see different dancers perform the same roles, to see what they can each do with something, where they can take it. A ballet can look completely different depending on cast.

Janie Taylor recently debuted as the female lead in Ratmansky’s Concerto DSCH and I absolutely loved her. I thought she brought a certain vulnerability, delicateness, and romantic touch (both big and small “r”)to the role and as such created a poignant centerpiece to this ballet that is mainly full of fast, frolicking fun. She was perfect partnered with Tyler Angle, who gives everything an emotional, Romantic quality. There’s one point where the girl bourrees (tip toes) backward from the guy and he steps toward her in a series of lunges, arms outstretched. It was rather heart-grabbing when Janie and Tyler did that. It was like Tyler was reaching for her with all his might, but she just kept falling away from him, telling him no, it couldn’t be.

The original cast for the romantic couple was Wendy Whelan and Benjamin Millepied, and when I saw them perform it again a few days ago, I looked for that part. I almost didn’t see it until Wendy had bourreed practically into the wings. Benjamin, instead of reaching toward her with all his power, bent his knees and performed those walking lunges close to the ground, kind of bouncing up with every step forward. His arms were still outreached but the deep kneed, close to the ground walks gave it overall a more playful feel, or perhaps like he was looking up to Wendy, his supreme ballerina. Wendy’s of course such an icon in the ballet world and she’s stronger and less vulnerable and delicate than Janie and so it just had a kind of man worshiping woman instead of a boy trying desperately to hang on to his love feel.

Ashley Bouder has been out with an injury so Ana Sophia Scheller is filling in for her in the main allegro ballerina part, still dancing alongside Joaquin de Luz and Gonzalo Garcia.

(photos of Garcia and Scheller by Paul Kolnik, taken from NYCB website)

There seemed to be a slight bit of drama going on between Scheller and Garcia at first — I don’t know what it was — he was his usual sexily mischievous, charismatic self and she seemed nervous and holding back a bit (albeit not with Joaquin), but hey, drama is always fun I think that has been all worked out though. The last time I saw them dance this together they were right on. She appears to be a lovely dancer and I’d like to see more of her.

I’ve also seen two very different casts in Scotch Symphony: the first Benjamin with Jenifer Ringer, the second Robert Fairchild and Kathryn Morgan. This is a sweet Balanchine ballet, telling the story of a young kilt-clad Scotsman lost in the Highlands who becomes completely smitten with an ethereal goddess dressed in Romantic tutu. He keeps trying to reach her but is thwarted right and left by a group of Scottish guards. Finally, they meet and dance a lovely pas de deux.

My friend, Alyssa, now has a huge crush on Benjamin. I don’t know how it happened; we were standing in line at the box office to pick up tickets one night and he was talking on the overhead screen, likely about his new ballet (I’m not sure because the sound was off) and Alyssa became mesmerized by his face. “That’s the guy who recently premiered a new ballet,” I said. “Oh, he’s a choreographer? He’s cute!!” Then when we got inside and were looking at the Playbills she screamed, “look, the cute guy is dancing!”

(Millepied headshot by Paul Kolnik; all headshots by Paul Kolnik, taken from NYCB website)

Afterward at dinner all she could talk about was how other dancers (like Daniel Ulbricht, who we saw in Tarantella that evening) were great jumpers and technically perfect and all, but Benjamin just brought so much more to the dance. “He was just so … so… he was perfect in everything he did, but he wasn’t just perfect, he was… ” she waxed unable to come up with the right word. It was Ethan all over again (whom she fell for after seeing at Martha’s Vineyard merely introducing his Stiefel and Stars and saying he was unable to dance because of the knee operations).

I nodded. He does have a certain beneath-the-surface charm (Benjamin that is), and he is a very good dancer, always coming through with those ever so challenging fast-paced Balanchine roles.

But of course I was dying to see Robert Fairchild in the same role, with Kathryn Morgan as his ethereal love object. They were so beautiful together. She’s just so angelic, and he always dances with such passion and boundless amounts of energy, and of course he’s always got that boyish charm that he’s had since debuting in Romeo two years ago at age 19 but that I don’t think is every going to go away. He’s such a hard-working young guy, you can tell — he puts everything he has into his dancing. He had a tiny fumble coming out of a jump and had to check himself with a couple extra steps to secure his footing (but he didn’t fall), and at one point he was a bit too far from Kathryn during a supported arabesque penchee and she couldn’t get her leg all the way up in the air. But, to me, honestly, when a dancer makes a blunder it only makes him or her all the more endearing, more human.

(Robert Fairchild, Kathryn Morgan)

I loved Tiler Peck in Tarantella — another role that usually belongs to Ashley Bouder, but Tiler brought a certain freshness and wit to this cutesy extreme high-speed dance. Ashley usually brings a sexy, flirtiness to it; Tiler was more sweet and smart. I like both, and, again, it shows dancers often make the dance.

Daniel Ulbricht (photo above by Paul Kolnik), as always, delivered on the technical and difficult athletic aspects of the dance — the high jumps the turns and all. Audiences always go absolutely wild over him. I personally like Joaquin de Luz a bit better (in this and the other roles he dances — he and Daniel usually alternate) because he delivers on the virtuosity as well but he makes it more about the character. At the end, the boy here steals a kiss from the girl. With Daniel, the high jumps and theatrics are the dance, the kiss is just a little reward at the end; with Joaquin the whole thing is about that kiss, the mad leaps and spins and turns with the tamborine are simply leading up to it. But audience do go completely wild over Daniel.

(Tiler Peck)

I saw the new ballets once again — Benjamin Millepied’s Quasi Una Fantasia and Jiri Bubenicek’s Toccata, and both grew on me. Funny, but I sat in orchestra this time for both — first time I was looking down from the first ring side, and it’s really interesting how different the ballets look from different vantage points — especially the Millepied. Looking down from above, this ballet really seemed to evoke a flock of birds, at times sinister and foreboding. Looking at it straight on, it was still unsettling — with that haunting Gorecki score — but at times the dancers resembled insects reminiscent of Robbins’s The Cage, and later, just figures — one weak and somewhat broken, the other strong — moving in various groupings. My friend Michael and I both noticed how he’d make various groupings or formations with the dancers — phalanxes, Michael called them. Sir Alastair had noted the same, saying he likely got the ability to work a large ensemble like that from Balanchine. I don’t always notice such things until someone points it out — I’m usually more focused on the theme, what the choreographer is trying to evoke, or make me think and feel.

I wish I had a picture of what the dance looked like from above. Overall, I think I still see Hitchkockian birds

I still don’t know exactly what Toccata is about but I love how there is a great deal of really intense partnering, sometimes several duets happening at once, the dancers by turns pushing and pulling, sliding, strugging with and embracing each other, and I love how at points the bodies just kind of mesh into one another, just melt into each other. It’s really kind of sexy in its own way. I love Robert Fairchild in these kinds of abstract roles. As I think I’ve said before, he always makes a little character out of a role no matter how abstract, and he dances with such expansiveness. With that and his immense charisma he devours the whole stage.

(Robert Fairchild and Georgina Pazcoguin in Toccata, by Paul Kolnik, from Oberon’s Grove)

I’m also liking Maria Kowroski much better. I heard she is taking acting lessons and it shows. Every little step is meaning something, saying something, a little quip perhaps, a little retort, to her partner (who has often been Sebastian Marcovici these days) and to the audience. I particularly liked her in Balanchine’s modernist Movements for Piano and Orchestra and his sweet, more classical Chaconne. Huge kudos to Sebastien in the latter for doing some really intensely fast footwork and really nailing it all. He is a large guy and that’s not easy. A friend told me afterward he thought Sebastien looked a bit “heavy” in the role, and I can definitely see that — a smaller dancer would have looked much lighter and more frolicking and playful — where Sebastien brings more virility and power and intensity — but, again, what makes ballet so addictive is the different bodies, different strengths, different personalities, different interpretations.

Or Garden, I should say…

A brief note from Eleanor regarding today’s final series of Congress lectures:

“Best lecture today by far was by Riccardo and Yulia. They did Paso, which I’m usually not a big fan of, but it was incredible. Also enjoyed Jukka and Sirpa — they actually spoke about stuff that was appropriate to my level of dancing! Just saw Karina Smirnoff eating dinner and was quite starstruck, which is quite unusual for me! Xx Eleanor”

I can imagine Riccardo and Yulia were great — they’re both very personable and they give quite entertaining lectures as well as, obviously, great demos. Jukka Haapalainen and Sirpa Suutari are former world Latin champions from Finland. They give good lectures as well. They are trying to take ballroom to the proscenium stage and have choreographed and performed a Latin version of Bodas de Sangre, based on the Federico Garcia Lorca play, which I desperately want to see someday (to my knowledge it’s only shown in Finland).

And interesting that Karina is there! I didn’t see her the past two years. Now that she and Maks are engaged, she may be there to support his little brother Valentin, assuming he is competing this year.

Anyway, Amateur Rising Star Latin was today; the next few days will consist of the Under 21s, the over 35s, and Rising Star pros. Wednesday is the next big day — the pro Latin. By the way, if you’re so inclined, you can check continuously updated comp results and follow Tweets here.

(photo from DanceBeat, taken by Andrew Miller)

Team USA won the team competition last night, as Eleanor and I had expected. Italy took second, Germany third and the UK fourth. We were beaten by Italy in Waltz and Germany in Jive, but other than that, we placed first in all dances. And — Eugene Katsevman and Maria Manusova were our second Latin couple! Go them! I was waiting to see who it’d be since Andrei Gavriline and Elena Kruyshkova retired and Anna Trebunskaya and Pavlo Barsuk seem, very upsettingly to me, to have broken up. I loved them, but oh well. Apparently with our introductory number, the Latin couples came out and did a Tango and Quickstep, then the ballroom couples did Jive and Cha Cha. According to my dispatch from Eleanor, and DanceBeat, it wowed the crowd! (Our second ballroom couple, as usual, was Victor Fung and Anna Mikhed). Eleanor also says Yulia and Riccardo are very good at Standard.

Visit DanceBeat and DanceBeatWorld for full reports.

Also, there seems to be no mention of this on DanceBeat, but Eleanor reports that Franco Formica (from team Germany) looked “mmmm” in tights and no top   Sounds very ballet!

Update: Aha, am reading up on DanceBeatWorld and seeing it WAS ballet! Formica impersonated Nureyev during their little opening introductory number! Fun! (The German team’s intro consisted of impersonations of Hollywood stars, but DBW calls Formica’s the greatest hit!; do read DBW for the rest: apparently in Italy’s opening number, the men acted as dogs and the ladies their handlers, champ Mirko Gozzoli being the unruliest dog of all, all over the stage and balcony! And England’s theme was the Circus, replete with acrobats and unicyclists, some of the senior champs of yesteryear — think Len Goodman-esque — dressed as animals. I love it.)

In another dispatch from the first day of Congress lectures, Becca reports of Sergey and Melia’s:

“Oh my GOD. Their lecture was the best I’ve ever seen in my life! They are so perfect, and they just got married too!”

Aw, I didn’t know that. Congratulations to them!

Eleanor writes:

“Just a little something about today for you. Best lectures [see post below for definition] were given by Max [Kozhevnikov] and Beata, and Sergey and Melia. Max spoke about how he gets his ideas for showdances and they performed their Charlie Chaplin number.

Sergey and Melia spoke about Rumba and did some gorgeous demos to different pieces of music showing the different interpretations. Then there was the Chrisanne one, which I featured in … am just thankful that 99.9% of the dance world don’t know who I am because I have a feeling the DVD is going to be embarrassing.

Also the World Exhibition champions, Greg and Natalie, gave a fab final lecture.

Just waiting for the team match to start now, Germany instead of Japan. US will win by miles in my opinion!

Eleanor x”

Thanks Eleanor!

So, I haven’t seen Max Kozhevnikov and Beata’s Charlie Chaplin dance, but looked it up on YouTube here. Look at that fancy footwork for Max! I seriously love Max in this! I didn’t know they were dancing together (and I think it’s only for showdances not for competition) but I like them together!

So sorry I missed Sergey and Melia’s lecture. I love Rumba, and I love theirs and would have savored seeing their different interpretations. I think I will try to buy the DVD this year if it’s not too expensive — also to see the Chrisanne show (which I’m sure won’t be embarrassing to anyone )!

And so tonight is the team comp (see prior post for more info on that too). I guess the four teams are the UK, the US, Germany and Italy. The way the team match works is that each country’s two best couples in each dance style – -Standard and Latin (so four couples total) take turns dancing two rounds of each individual dance (Rumba, Cha Cha, etc., and same for Standard). The scores are then added together and the country with the highest scores win that dance. Then, the scores for all nine dances are added together and the country with the highest score overall wins. I agree that the US will probably win, since we have two of the top couples in the world in each dance style — Riccardo & Yulia in Latin and Katusha & Arunas in Standard, whereas none of the other countries have top dancers in both (just one or the other). Last year was the first year the US ever won, by the way. We’ll see.

The Blackpool Dance Festival has begun and for the first time in four years I’m missing it. So sad. I felt like I needed to save on expenses this year with the recession and all, and I was disappointed that my favorite, Slavik Kryklyvyy, likely wouldn’t be competing again, and I was aggravated with the predictability of last year’s results and figured I’m going to get frustrated all over again. So, I decided to take a year off.

But, thankfully, two wonderful young ladies from England, Eleanor and Becca, who I met from this blog, are going to do some little write-ups on the goings on later this week. They are fans of Sergey Surkov and Melia, so they’re rather perfect for this blog In fact, today, they are modeling in the Chrisanne ballgown show in the pavilion, along with Melia!

(Here’s a picture I took in the past of the runway)

Chrisanne boutique in the pavilion.

I’ll also be keeping up via Dance Beat.

Today and tomorrow are the increasingly popular daytime Congress lectures on things like technique, performance quality dancing, and ballroom dance history by the top pros of today and yesterday, and tonight is the ridiculously exciting but somewhat goofy country team competition. The two most important nights of the week will be Wednesday and Friday, Wednesday being the Pro Latin and Friday the Pro Standard. I’ll be rooting for Sergey and Melia of course, along with the top U.S. couples Riccardo Cocchi and Yulia Zagoruychenko in Latin, Katusha Demidova and Arunas Bizokas in Standard.

Standard champion Mirko Gozzoli from Italy giving a Congress lecture,

after giving a demo of mouthwatering splended perfection with partner Alessia Betti.

Former champs the charmingly funny Luca Baricchi, with his partner Lorraine, doing the same.

American team’s elegant team comp intro from two years ago.

And last year’s. Still not sure where we were going with that what goes on in the teepee theme…

I’m excited though to be in NY for all of ballet season, for the first time in a long time this year. Between ABT and NYCB I don’t think I’ve missed a day of ballet in the past week.

But, still, it’s always nice to go away. Some of my favorite pics from the past:

(an unusually warm May day in the northern sea-side town)

Riccardo Cocchi rocking it out with his former partner, Joanne.

Karina Smirnoff when she last competed.

Sergey and Melia the first time I saw them dance and the first time they placed in the finals. Kind of funny, it looks a bit like he’s spanking her here

On the train ride from Manchester to  Blackpool. Sheep! I know, why do Americans always take such pictures? It’s like we don’t have any such animals here…

Curry dinner from Taka Dance’s Japanese restaurant, which they set up in the base of the Winter Garden for the duration of the festival.

Slavik with Elena Khvorova, last time I saw Slavik compete.

Max and Yulia’s advert page in the program the year they made the top six.

The nearby beach. Pretty but cold.

Cheesy, Vegas-y “Eiffel Tower” that houses a lot of casinos and pinball machines, along with pseudo-Vegas-type shows.

Day trip to Liverpool, in between Latin and Standard finals.

The always happening Ruskin Hotel where people like Maks Chmerkovskiy can often be found.

Arunas and Katusha in last year’s finals.

(photo by Paul Kolnik, of Sterling Hyltin and Robert Fairchild, taken from NYObserver)

Don’t forget: tonight on PBS Live From Lincoln Center, New York City Ballet performing Peter Martins’ Romeo + Juliet. It’s not my favorite version of the ballet, but it grew on me the last time I saw it, and the dancers are superb. So please watch, or DVR or Tivo or whatever, while So You Think You Can Dance premieres on Fox. Let me know what you all think!

(photo of Marcelo Gomes and Veronika Part, by Gene Schiavone, taken from ballet.co.uk)

So ABT is in the midst of its week-long Balanchine-Tchaikovsky program, which began last night, after Monday’s opening night gala. I’ve gone to both performances thus far, last night’s and this afternoon’s.

Last night I was seated next to Irlan Silva — ABT studio company dancer, and movie star! (actually, I’d noticed his dancing before the movie; I was only drawn to the movie because it was about Brazil, and only when I was sitting there during the Tribeca Film Festival did I realize I’d seen one of the documentary’s subjects before!) Anyway, he seemed really polite and quiet, but then he applauded and hooted loudly during dancer bows, so is obviously very supportive. I like seeing dancers at performances; Julio Bocca wasn’t right about everyone when he said young people are too into their cell phones these days to watch and learn. And, today I saw Ashley Bouder (of New York City ballet), sitting in the front orchestra.

Also last night, on the way in I saw Laura Jacobs. I wanted to thank her for sending me an advance copy of her new novel, but she appeared to be engaged in conversation and I didn’t want to interrupt. I didn’t see her husband, but I assume Mr. Wolcott was there at some point since this was Veronika Part’s first full performance of the season, and as principal ballerina!

Anyway, first on was Allegro Brillante, danced by Ethan Stiefel and Gillian Murphy. Today it was danced by Xiomara Reyes and Daniil Simkin. I noticed both in this and in the two Mozartianas that I saw that there seems to be a difference between the way Russians and Americans (Latin Americans included) dance Balanchine.

Continue reading ‘I WANT TO DO FISH DIVES WITH MARCELO’

Woo hoo — Gary Vaynerchuk just gave the big thumbs up to my friend’s wine. (That’s the Esporao one; the middle “pansies on the nose” one he tastes).

Can you imagine someone setting up a table in front of the Met and podcasting about ballet with the (slightly crazed) enthusiasm of this guy? Do you think people would go for it?

Funny I should find on Facebook this little quiz (designed partly by illustrious Stuttgart danseur / Winger contributor Evan McKie ) in light of my earlier Where is Cranko in the U.S. rant. Take the quiz! It’s fun, and gorgeously designed. I got Katharina in Taming of the Shrew. I guess I can kind of see that :S …

(Above, a couple of pics of her and her partner, Igor Mikushov, I took at, it looks like, the Manhattan Dancesport Championships)

I’d gone to ABT last night and got home right before the DWTS winner was announced and so didn’t have to watch the whole show to see who won. I was so high on my night at ABT I’d totally forgotten about the DWTS pro results!

EEEEE, Anna! I’m so happy for her. I’ve long admired her, watching her dance at Blackpool and the US Nationals here and the other comps. And of course her sister is the reigning Queen of Standard. I actually hope this can bring greater recognition to Katusha Demidova and her partner Arunas Bizokas.

They are a contemporary Fred and Ginger. I’m not exaggerating one smidgeon. I’m not. I truly believe anyone who has the chance to see them dance will think the same. The only reason they’re not as famous is because those MGM movies aren’t around these days. Otherwise, they’d be stars.

I really thought everyone would go for a hot, sexy Latin dancer. (Not that I’d blame them if Slavik Kryklyvyy or Sergey Surkov was a contender!) But I’m beyond thrilled America went for elegance and romance and sophisticated, high-end glamour. Maybe there’s hope for ballet to make a mainstream comeback…

On bringing home that big ole disco ball See, I was right in calling this the Mark Ballas Show! I really thought it was going to be Gilles. I guess since they said there was less than a one percent difference in votes between the two, they both kind of won.

I always feel anticlimactic at this point. I’m sad.

And the next season isn’t starting until September?… It seems like light-years, but I guess it’s only after the summer during which, for me at least, there will be beaucoup de ballet and ballroom competitions. I’m still a little depressed though…

(above image taken from AccessHollywood)

Well, I was out at the ABT opening night gala last night and so recorded the show and, for some reason, my recording had no sound. I tried to watch it on ABC.go but the site kept telling me the episode was currently unavailable. I tried to watch on YouTube but those posts had no sound either. I wonder if ABC somehow set it up so you couldn’t record sound on the finale (to prevent YouTube posts), because that’s a little weird. They certinaly don’t make it easy on people who go out all the time! Anyway, I had no choice but to watch without sound.

It’s obviously really hard to watch without music — you can’t determine the contestant’s musicality or sense of rhythm at all — but I was pretty underwhelmed by this finale in general. Paso is my least favorite dance, and I thought they all did decently, albeit not superbly. At this point, I can’t really judge who I like most because they each have their own special, likable quality. I thought Shawn was a little lacking in passion in the Paso, I thought Melissa’s lines were gorgeous — she can make such sleek lines with that long, thin, ballet body but she also looked a little stiff in places, and I thought Gilles was more about the acting and the facial expressions than the dancing. So, even though she wasn’t perfect, Melissa was my favorite overall for the Paso.

I used to like the freestyle dance, but it didn’t do much for me this time. Of course, not being able to hear the music could have been part of it, but, in a way, sometimes it helps not having sound because you focus entirely on the visuals and really see what everyone actually LOOKS like. Shawn and Melissa looked like they were having a lot of fun up there, but their dances both looked sloppy — lots of awkwardly bent legs, no real precision, no clarity of line, no control. It was just a lot of jumping around; it didn’t look like any kind of stylized dance. I’m sure it had to do with the many tricks involved — when you’re focusing on tricks you’re not focusing on grace and line and polish — you’re focusing on not killing yourself or your partner. I could totally relate to Melissa’s nearly poking Tony’s eye out during the practice session by the way! Oh how many times have I done such things… But still, when you do a bunch of tumbling, you can’t just throw your legs up all splayed and bent and formless; you still have to tighten your body, keep your legs together and think about the shape you’re creating.

I think I actually liked Gilles’s freestyle the best because it was just kind of low-key. He didn’t move a whole lot — was mostly there to be Cheryl’s support in the lifts and she did most of the body-shaking, fast, hip-shifting moves.  And Hustle’s just fun. They danced to Flashdance, right?!

Anyway, since I missed the music and talking, I would greatly appreciate comments filling me in!

I’m going back to ABT for more tonight and am going to have to record the show again. I hope I don’t have the same problem tonight!

Yay, the season has offically begun! This picture was taken during intermission; that’s why it doesn’t look that crowded. I was sprinting in, nearly late, as usual, so didn’t have time to snap some pics before the performance but fortunately it was still light outside during intermission.

Anyway, Michelle Obama (who served as one of the gala’s honorary chairs) looked smashing in a sleek dark grey sleeveless, knee-length dress with tiny black ruffles lining the bottom. I’m sure there will be beaucoup des pictures seeing as how many blasted camera people there were; I’ll be sure to steal some when they’re posted on all the society websites (Oh, look, here it is in the NYTimes already)

(photo Timothy A. Clary)

It was just about the craziest thing I’ve seen on the Met Opera stage: after Veronika Part’s mouthwatering Mozartiana opened the show, artistic director Kevin McKenzie came out and thanked everyone who needed thanked — all the donors, designer Caroline Herrera who funds the gala, etc., and Senator Chuck Schumer came out and gave a little talk about the importance of funding for the arts, etc. Then, Schumer disappeared behind the curtain and moments went by. Everyone kind of looked around at each other like “what’s going to happen next?!”

Soon, the curtain was pulled back to allow some people to carry out a podium with a banner “American Ballet Theater” draped over its front. The doors to the lobby opened and a flock of people bearing weapon-sized cameras blasted in. Several men dressed in black promptly rose from their aisle seats and followed the flock of weapon-camera-bearers to the front of the aisle, near the stage. Caroline Kennedy was announced. She came out, everyone applauded, and she mentioned that the school of ballet associated with ABT, the Jacqueline Kennedy Onassis School, would be performing on the Met Opera stage for the first time ever tonight. Everyone ooohed and aaahed. Then, she announced First Lady Michelle Obama.

The curtain pulled back again and out she came. Of course everyone gave a standing ovation. She smiled radiantly, then, after a moment, directed us to be seated. Then she gave a short speech. It was a little hard to focus on what she was saying with everyone — both professional photographers and audience members with cell phone and digital cameras alike — flashing away as they were, but she talked about the necessity of the Arts for a culture to flourish, the importance of arts education, etc. Then she introduced the Jacqueline Kennedy Onassis School students.

As soon as she disappeared behind the curtain, the auditorium remained still pending the exit of the flock of pro camera wielders. It’s funny because there were all these non-dance writers in the press section. You could hear the sighs of relief, the sinking down into the chairs, and the putting away of pens and paper — and cell phones, which they’d used to light their writing paper during Mrs. Obama’s speech, which would have been extremely annoying had it not been for all the flashing bulbs anyway. But it made me wonder how they’d ever survive as performing arts critics! I mean, who needs light to see to write!

Anyway, the students were excellent. They performed Le Defile (The Procession) by Raymond Lukens. There were three large groups of them, in three levels — the very little ones, a medium-age / level group, and the older, very advanced ones. The choreography was basically a showcase of classical ballet steps, much like a very advanced ballet class — jumps, jumps with changing feet, jumps with changing feet that went on forever performed by a set of advanced boys (which drove the audience to wild applause), jetes, chaine turns, multiple pirouettes, fouttes, etc., and then a bit of partnering. It gave the students a chance to show what they could do — and the advanced ones could do a great deal! Extremely impressive, and great fun.

Then on were Xiomara Reyes and Herman Cornejo doing an excerpt from August Bournonville’s La Sylphide. This was the most dramatic I think I’ve ever seen Xiomara. I was sitting in the back of the orchestra and she really projected. She was really sweet. And Herman as always amazed with his virtuosity, his jumps, his razer-sharp precision, his astounding clarity of line.

The corps in both this, La Sylphide, and Swan Lake, later in the evening, were absolutely amazing, by the way. Not a head arched back more than the others, not a leg raised higher. They were all so on. When they work together like that, in perfect unity; it’s really visually breathtaking.

Then was Balanchine’s Tchaikovsky Pas de Deux danced by Ethan Stiefel and Gillian Murphy. Ethan and his strutting around stage, taking his own good time after their duet and before beginning his solo, making the conductor wait for him! And his high jumps with all miraculously many beats of the feet. I wished my friend Alyssa could have come so she could see he’s not just Mr. Sexy; he’s a superb dancer. And Gillian was radiant, and a perfect foil with her speed-of-light chaine turns. They enjoyed a long, slow kiss during the curtain call. The audience went mad!

Then was the hunt scene from Sylvia danced by Michele Wiles followed by a piece d’occasion (the first of two of the night), by Alexei Ratmansky, for Nina Ananiashvili, called Waltz Masquerade. It was set to the Waltz from Aram Khachaturian’s Masquerade Suite and it was cute and comical. She was dressed in this long, red dramatic, Carmen-like dress with a sexy black lace overlay on the top. There were four tuxedoed men, each bearing a gold candlelabra, one at each corner of the stage. These men turned out to be: Jose Carreno at the front left corner; Marcelo Gomes, at back left; Angel Corella back right; and a blonde on the front right who I initially thought was David Hallberg (I was sitting FAR back from the stage!) until the fun began and he shook his head about like a sassy mop and I realized DH just does not have enough goofball in him to do such a thing, even if he tried. So, I decided it was either Ethan or Maxim Beloserkovky. Anyway, Nina’s character was supposed to be dancing about the stage in a melodramatic solo — but it was purposefully melodramatic, and so comical. Like a silly, cartoon version of an upcoming swan song, really, which, is of course, what’s coming up for her later in the season (and will be much more sobering when it does). At one point, she just passionately crashes to the ground and remains there, in a heap. Nothing happens. The men, obviously her servants, start looking at each other like, what now? They shrug, slowly walk over to her. Then, Marcelo starts imitating her melodramatic dance, but far more cartoonishly, and of course it’s hilarious. The others join in. Max (I think it was Max, not Ethan) does his thrashing hair thing. I couldn’t see facial expressions but I assume they were making fun of their master. Then she wakes up, catches them, and they’re sent back to their posts.

After intermission was the balcony pas de deux from MacMillan’s Romeo and Juliet, danced by Marcelo and Diana Vishneva. At first, Diana approaches her balcony with all the drama of a ballerina playing Juliet, rather than Juliet herself. I rolled my eyes. This is what I don’t like about her. She’s an excellent dancer but she’s all about the pomp and circumstance and not about the character. Maybe it’s a Russian thing, but I don’t see that in Veronika Part or Irina Dvorovenko. Anyway, she eventually lightened up, thankfully, and I felt like I was watching not a prima ballerina being a prima ballerina but Juliet herself, falling hopelessly in love. When she runs around him one foot solid on the ground, the other on pointe, it’s so girlish, so real yet so poetic. Those are the best — I don’t know what to call them — runs around kneeling Romeo — that I’ve ever seen — not even Alessandra Ferri’s were that sweet. Still, I felt some of the lifts lacked the beauty and magic of  those Marcelo and Julie Kent do together when they dance this scene. I don’t feel she dances that well with a partner; she’s more into herself. Marcelo’s leaps around the stage and big high passionate jumps were thrilling. He got some good bravos for those.

Then were Paloma Herrera and Max Beloserkovsky in the Act II pas de deux from Swan Lake. I was hoping it’d be the Black Swan pdd, but no. I guess the program was pretty bravura-heavy already. I don’t see him dance much, but Max is really quite good. He’s really a character and he’s the perfect Prince Siegfried, regal yet vulnerable and tragically in love. And he’s a good partner.

Then was the mad fun of Le Corsaire, with Irina Dvorovenko, David Hallberg as Conrad, and Angel Corella as Ali. Except something happened at the beginning and I hope David’s okay. The tallest guy in the entire opera house had to sit in front of me and I was trying to navigate my way around his enormous head just as a bunch of people up front went “Oooooooh!” When I was finally able to see the stage, Irina was standing in front of David, face toward the audience. She didn’t seem to have any particular expression on her face, but, then, I was light years away from her. Then David did an assisted pirouette with her and everyone applauded, so it must have been a lift that didn’t quite happen or something. Anyway, I hope he’s okay; I know his shoulder sometimes comes out of socket. Anyway, all seemed to be fine after that: all three were brilliant. Of course. Angel astounded, as always, and I started giggling during his first solo and couldn’t stop all the way through the second. I love Irina. She was radiant. She did those continuous turning kicks on pointe like they were nothing. She has the drama and the virtuosity when needed and the always beautiful, graceful lines. And David’s leaps all over the stage were magnificent. I could see this goofy ballet over and over and over again, as long as no one gets hurt Angel did not leap out from behind the curtain during curtain call, sadly.

Then there was another piece d’occasion. Herbie Hancock played piano, onstage, while first Jose Carreno, then Stella Abrera, danced to his music. This was cute and comical as well, and kind of reminiscent of Jerome Robbins’s Other Dances or Suite of Dances, where the dancer(s) connect mainly with the musician. At one point, Hancock went nuts with the keys, obviously way too fast to be danceable, and Jose stopped in his tracks, looked over at him, and lifted his hands, like what gives, dude? He sat down near the base of the piano and just rested. The same happened with Stella. She danced, then stopped and gave Hancock a look when he began another little virtuoso section. She finally sat down beside him on the piano bench, and eventually, he ended on a romantic note, she snuggling next to him softly, sweetly.

The evening ended with the finale of Balanchine’s Theme and Variations. The leads were danced by Sarah Lane and Daniil Simkin. It was a nice way to end the program, but with the likes of Simkin, I wondered why they only did that group finale, where he and Sarah are basically leading a processional, instead of some of the earlier bravura parts with all the corkscrew turns for the man. An opening night gala performance is meant at least in part to showcase the dancers doing what they do best, and he is best at the bravura stuff, not leading processionals.

Anyway, the whole night, as usual, was magic. Saw Sigourney Weaver and Kelly Ripa in the audience.

Oh, for my Dancing With the Stars readers, I taped the show, but for lord knows what reason it was somehow muted. I have no idea how on earth I managed to do such a thing, but it was pretty amusing watching the show in pure silence — no words, no music. Needless to say, I’ll have to watch online tomorrow.

But now, dead tired, must sleep. Goodnight.

(Photo of Martha Graham’s Lamentation by Petra Bober, from TONY)

Saturday afternoon my friend Alyssa and I went to the second of Martha Graham Dance Company’s programs this season: this one including several of her works spanning her 70-year career. The matinee began, though, with one of the most compelling set of dances I have honestly ever seen. The company had commissioned three different modern choreographers — Aszure Barton, Richard Move, and Larry Keigwin — each to make a dance honoring Martha Graham’s famous Lamentation, an immensely compelling evocation of grief. This set of dances was called Lamentation Variations and premiered on September 11, 2007, in commemoration of the terrorist attacks. I had missed it then, but saw it on Saturday — the only difference being that they’d taken out the Barton and substitued a new Variation by Bulareyaung Pagarlava, a Taiwanese choreographer who happens to be married to guest dancer with the company, Fang-Yi Sheu (who danced Clytemnestra).

Before the dances began, they showed a film of Graham herself dancing portions of her original Lamentation, her body reaching, stretching, contorting in that constricting fabric. Then they showed these three contemporary variations on her theme of grief.

All three Variations completely blew me away – -most especially the first, by Keigwin. I usually find Keigwin’s work humorous and clever, but this was absolutely haunting. A large group of dancers, mostly dressed in business attire, or casual sports coats, or, in the case of some women, cocktail dresses, took the stage. At first they all looked out at the audience, but it was as if they were looking at themselves in a mirror, primping themselves, putting in contact lenses, checking their hair, makeup. As some continued doing this, others turned their backs to the audience, then slowly raised their arms, and slowly fell to the ground almost as if being shot. In the end, one couple is left standing, a woman and a man, the woman holding onto the man with all her might, he slowly falling, out of her grasp, out of her reach. It was so reminiscent of 9/11 and loved it. I’ll never forget it.

Continue reading ‘HAUNTING “LAMENTATION” VARIATIONS AT MARTHA GRAHAM DANCE COMPANY’

(photo by Paul Kolnik taken from Explore Dance)

Last night my friend Judy and I went to New York City Ballet for Martins’ Romeo + Juliet, my first viewing of that ballet since it premiered in 2007. I wanted to see it again before the live Live From Lincoln Center broadcast this Thursday. Don’t forget, PBS at 8 pm EST on the 21st! Reminders to come!

Kathryn Morgan had the lead and I loved her! She was so beautiful, so sweet, so dramatic, so girlish and innocent in her early scenes with the Nurse, then so full of tragic pathos as the ballet progressed. No one has her floral, fluid, sweeping lines, and no one can so exquisitely arch her back. She really reminded me of Margot Fonteyn and she nearly made me tear up at the end, which only Jose Carreno as Romeo has ever done to me

Her Romeo was Sean Suozzi and, though I still find Robert Fairchild to be NYCB’s most charismatic Romeo, she and Sean complimented each other far better than she and her original Romeo, Seth Orza. Seth was hunky and handsome and powerful and manly, but he danced Romeo with all the emotion of a brick wall and it made it seem like Kathryn was overacting. There was much greater balance here.

(photo of Morgan and Orza by Elinor Carucci, from the New Yorker)

Also, I think Martins has vamped up the choreography in the pas de deux more, no?

Continue reading ‘KATHRYN MORGAN’S FONTEYN-ESQUE JULIET!’

There’s currently a debate raging in London over Sadler’s Wells (the most important venue there for contemporary dance) and its new season lineup showcasing the work almost entirely of male choreographers. Thanks to Pinballpeople for pointing me to it!

See Guardian posts by dance and culture writers Judith Mackrell and Charlotte Higgins here, here, and here (and read the comments section in that last link; some are by choreographers and are very astute.)

Alistair Spalding, the artistic director of Sadler’s Wells, has apparently responded that he realizes there’s an imbalance but can’t do anything about it; he has to choose the works he thinks best. Spalding posits one reason for the lack of female choreographers as being that women are perhaps not as “assertive” as men, but it’s unclear to me what exactly he means.

Continue reading ‘ARE THE ‘BUZZIEST’ CHOREOGRAPHERS MALE IN THE US AS WELL AS UK? AND DO CRITICS IN THE UK HAVE MORE POWER?’

(Photos above: top, Janie Taylor and Jared Angle in Quasi Una Fantasia, bottom, Abi Stafford and Craig Hall in Toccata. Both by Paul Kolnik, courtesy of NYCB)

Last night I went to New York City Ballet’s Spring season gala. I always love galas but they’re especially exciting when they showcase world premiere dances. In this case, there were two such premieres, along with the world premiere of a new piece of music set to one of the ballets.

First things first: I missed most of the red carpet events, unfortunately, since the program began early (so as to make time for the after-show dinner, which I am far too poor to attend). And shame on me for mismanaging time like that — that Waiting For Godot experience from two years ago was too much fun. I did get there just in time to see the paparazzi flashing away at (Sex & the City author) Candace Bushnell and (NYCB principal) Charles Askegard. Sweet Charles soon stepped aside to let his wife bask in the glory all on her own. She looked radiant. I was jealous.

Continue reading ‘TWO WORLD PREMIERES — QUASI UNA FANTASIA AND TOCCATA — AT NEW YORK CITY BALLET GALA’

Life magazine recently asked Dancing With the Stars judge Carrie Ann Inaba to choose her favorite dance photographs. They’re mostly ballroom, but not all. Via Dance Engine.

(image, of Fang -Yi Sheu as Clytemnestra, by Dominic Bracco Li from Washington Post)

Last night Martha Graham Dance Company, the oldest dance company in the U.S. — and one of the most esteemed — opened at Skirball Center at NYU. I love opening nights because they’re so perfect for people watching. Practically all the critics were there as well as several bloggers (Philip has some beautiful pictures), as well as many dancers, from Merce Cunningham (two of whom I met through gracious Apollinaire Scherr!), Jose Limon, and Paul Taylor. And Damian Woetzel from NYCB was there. Happily, I nearly smacked right into the mesmerizing Jonathan Frederickson of Limon a couple of times in the lobby — at least I think it was him — (and, like most dancers and actors, he is far more petite in person than onstage!). And I spotted Michael Apuzzo dashing upstairs to the balcony at the end of the intermission. If you didn’t see it, he actually commented here – how sweet! — but I was still far too shy to say hello, though my friend Alyssa told me I should have…

Continue reading ‘MARTHA GRAHAM’S CLYTEMNESTRA’

Well, I was on a train late last night and missed watching the Dancing With the Stars semis on TV. Now I realize how hard the show makes it for you to catch re-runs. Geesh. Rickey doesn’t have everything posted, so I went to YouTube, and they have most of the competition routines, but the sound quality is crap and subtitles (in, for example, Gilles’s visit to his hometown, Cannes, with the French interviews with his mother and friends) are cut off. And they didn’t have the full episode. The YouTube clips re-direct you to this website, but once there, they just keep making you take these ridiculous quizzes, telling you, eventually the site will be unlocked. Well, it never unlocked for me — instead they redirected me to more and more quiz websites. I hope that site’s not a scam that unleashes some kind of virus or something. Anyway, people beware: don’t try to watch re-runs on watchdancingwithstars.com.

Anyway, I at least saw the routines. I only saw the bio on Gilles. Were there bios on the rest of the competitors? If not, that’s kind of silly, interesting as his little trip to Cannes was.

So, semis consisted of: Mark and Shawn dancing Jive and Argentine Tango; Melissa and Tony Quickstep and Cha Cha; Ty and Chelsie Samba and Viennese Waltz; and Gilles and Cheryl Salsa and Waltz (although one YouTube clip called it a Quickstep).

My favorites were Mark and Shawn’s Argentine Tango and both dances by Melissa and Tony.

Continue reading ‘THE GIRL NEXT DOOR? NO, MELISSA RYCROFT IS MORE LIKE A GLAMOROUS OLD-TIME HOLLYWOOD STARLET!’

My mom knows I like Swan Lake and so sent me this, so I thought it fitting to post today. I remember some of these feats from Superstars of Dance, but I remember the arabesque on the guy’s shoulders, not his head!

(image from here)